The Quintessential Eight

Now that fall is over, we can start planning our summer. That's right, the 2010 tour schedule is out! Something to be thankful for!

Since it is Thanksgiving, in addition to food, family, a job, a home, I am thankful for this country, for its music, and marching music in particular - America's unique contribution to music, right up there with jazz. (Well, and a host of composers, too.)

Now that we can start making some summer plans, how do you introduce the wonderful world of marching music to a "newbie"? I like to take them to a drum corps show. And with the schedule now out, you can plan your trips this summer, too!

But what if you can't drag them to a show? What if you had 2 hours to show them what marching music is, and has become since they probably last tuned in. (You know, it's like trying to describe the marvels of HDTV to somehow who last watched on a 13" black and white.)

Accepting the premise (and I don't do that) that drum corps is the way to go, since there are literally thousands of high school marching band shows to choose from a year, and video is relatively accessible, what do you choose?

Here are my Quintessential Eight ... the two hours of drum corps I would use, for better or worse. And I tried to choose a corps only once, knowing that there are probably better shows they have done since the show I selected. That's the beauty of opinion.

So, in date order ...

8. 1983 Cadets - because from then on, the genre changed.

7. 1988 Madison Scouts - from start to finish, the power of the music and the drill, sans props and storylines. It is the building block for not forgetting that "the basics" matter and can carry the day if done right. And, from what I read, it seems that the Scouts are going back to basics now nearly 20 years later.

6. 1992 Velvet Knights - because performance should be fun! (Okay, okay, substitute the 1980 Bridgemen, if you must.)

5. 1993 Star of Indiana - because the genre changed again.

4. 1999 Santa Clara Vanguard - The copycat 90's ended with this championship performance. The musical variety: Philip Glass's minimalist "The Canyon"? Samuel Barber's "2nd" and "1st"? Frank Ticheli's jazzy "Blue Shades"? Oh yeaahhh. This show was just sheer performance - guard, brass AND percussion. The kalidoscopic drill AND body movement. "Vanguard!" Truthfully, SCV isn't my "favorite" corps, but I probably have collectively more favorite performances from them than about any other.

3. 2002 Cavaliers - 99.15. How much closer to perfection can you get?

2. 2007 (or 2009) Carolina Crown - Fans loved these shows. From a storyline perspective, the 2007 storyline was more captivating from the outset. (Typical response from viewers: "That was just 6th place?!") So, select what you will.

1. 2008 Phantom Regiment - Because a champion can come from behind to capture the points as well as the crowd, and because from the moment they stepped out of the tunnel, the performance was on and complete.

What?! I left off the Blue Devils*? Yup. And others. So, your turn.

* (Top 10? Okay - add 2000 Boston Crusaders and Blue Devils ... 1983 ... or 1992 ... or 1994 ... or the risky 1998. Or, what if we have to cut the list to the Top 4 from the 2000s because "I'm only giving you an hour" - oh, never mind.)

Audition Weekend: Missions of the Possible

Today begins auditions for the 2010 season for a number of drum corps (and some winter guards as well). MP is with one drum corps this weekend.

Seems to me that over the past 20 years, the educational focus of the corps audition process has increased, and in many ways become more more standardized. My only hope is that the drum corps don't forget their missions. They are not NFL teams - putting together winning units, or at least trying to. There is the non-profit and educational mission that must be remembered. From what I've seen, I think many corps do that. It isn't about the medals, or the design or instructional team. It is ... it should be ... about the kids.

About a week ago my bride and I had a kitchen debate (I just realized she was closer to the knives, and I'm sure after reading this some of you will wish she used them!) about woodwinds in drum and bugle corps. She argued that if someone wants to march, let them march brass. I argued - for the sake of argument, mind you - that we are excluding a number of talented kids who can benefit from the "drum corps experience", and that the demands and talents in top corps may not give the great clarinet player a chance. Just think about this for a moment. What if a corps set aside 10% of its brass line for primary woodwind players?

Is drum and bugle corps the right name, anyway? We seem to thing it's not marching band (and does calling it major league relegate bands to minor league?) ... and what is marching band, anyway? None of this is what people think it is. (Before you laugh, "color guard", think about the origin of that term!)

Percussion and Brass Corps? The reality is that half of the "drummers" are in the pit and don't play "drums", and conventional trumpets, mellophones, baritones, and tubas are not bugles.

I started out talking about auditions, but seem to have (again) swayed into definitions.

Well, whatever we are, "marching band", "drum corps" or "color guard" ... there is the saying down in Texas about a certain school and it certainly applies: "For those who are here, no explanation is necessary. For those who aren't, no explanation is possible."

Good luck to everyone seeking to join. Especially to MP (... and to woodwinds!)

Resistance ... and Resilience

During this past weekend I peeked in on the BOA Grand Nationals with a particular interest in how some bands were performing, notably last year's champion Avon (IN), "From the 50 Yard Line" star Centerville (OH), and of course the Texas and Carolinas bands.

And American Fork HS, from Utah.

American Fork, you see, was returning from a competition earlier in the year when a bus went of the road. A number of students were injured, and sadly their woodwind instructor lost her life.

Some bands would have quit. Some kids resist going on. American Fork - in one week's time, I found out - raised a quarter million dollars to get to Indianapolis.

What is it that drives some bands to collectively resist the efforts their directors, their peers, and their community? To resist relentless improvement, and be satisfied with mediocrity? The (developing) teen mind, I am finding (hello, MP and TP!) is a wonderful yet strange thing. Dr. Tim's seminar gave me some insight, especially regarding the allure of the 10% who are negative leaders (the resistance!) against the 10% who are positive leaders.

Still ...

Perhaps like the marketers trying to figure out and capitalize on the teen mindset and lifestyle, it is elusive. Some bands have figured it out, however. The directors, kids, parents and community ... implicitly or explicitly. And those bands have resilience, no matter what they face.

... .... ...

Ironically, American Fork's show this year is titled, "The Greatest Generation", the term used to describe the Americans who grew up in the depression and went on to fight in WWII, then brought a new age of prosperity to our nation. Who had ... resilience.

In some ways, and in some places like American Fork, there are some pretty good members of this new generation, too.

... ... ...

I drafted most of the above knowing American Fork had advanced to 2009 Bands of America SemiFinals. In the end, they did not advance to the finals. Still, they showed resilience.

What's it worth to you?

Is it five bucks? Six?

After a season of local shows, this past weekend I sat in a ticket booth for a while watching band parents and grandparents are expressing sticker shock as we get to large finals competitions in major venues, where ticket prices jump to $20 ... or more. (In some case, much much much more - to the point where $10 is the deeply discounted low corner seat!)

Not to mention those stadium operators often do relish the opportunity to stick you with high priced hot dogs and parking fees - fees that are not the fault of the organizers of events, for sure, unless you blame them for choosing the stadium in the first place. (Not that they haven't offset some of with sponsors and exhibitors.)

And pretty much, expressing shock is what we do. I've heard variations on this melody: "What?! That's a outrageous price to pay to see my kid for 15 minutes! I mean, its four times what I've paid all season, not counting the parking rip off!"

Well, for one, just in case you missed it during the last ten or twenty or so years, prices have gone up. Except, perhaps, band competitions. While the costs to put them on go up, ticket prices have held steady. This means less profit for show operators, leading to a lower return on the investment of time, and maybe reducing the costs of the program they are supporting.

And there is a lot of cost to supporting a kid in a band program, no doubt - I have two (and some families I know have three!). Can we squeeze another $20, $40, plus plus plus?

Well, what's it worth to you? To see your kid perform? To give support to the other band kids out there performing?

I understand that it is not the best economic world out there. It's hard to raise money, it's hard to deal with increasing expenses and flat or declining incomes. (Probable case in point: The once dominant Lancaster Catholic HS band.)

Major National Championship events allow the kids the experience of performing before in a "high value" venue. I've seen high school football stadiums in the northeast they are ... not Texas (or Ohio or Florida).

Major National Championship events also all the kids and the directors to get feedback from "high value" judges. Like any sport, there are people who dabble, and there are names we respect. How often does quality educaitonal feedback come to a band?

And, beside, for $20 - stay. Stay and grow the crowd. Give the kids from ALL bands the biggest audience of their season. Give all the kids the most spectatular feedback they will probably get all year. And be surprised. Yes, in most cases there are band that are better than yours.

By the way. $20 to see the USSBA Group 6 Champion Roxbury HS again? Yeah, probably worth it, if you watch them from the moment they step on the field to the moment they step off. Funny that even though they didn't win visual, to me they had the trifecta - great design, great teaching, great execution.

Reflections of Brillance

The band did well under Saturday - oops - Sunday Night Lights! They went in seeded 18th and tied for 15th, breaking 85 and earning a bronze level recognition from the NJA-TOB circuit. Quite honestly, I believe they could have done better, but were done in a bit by a later start than they probably needed for a show with technical and musical complexity above what they were used to, and somewhat by the entire seeding and qualifying point spread.

The technical side was interesting for me, given that the show was written by two drum corps veterans, Marty McCartt and Bill Register, that were there with me at the beginning of Carolina Crown (if you want to see and hear a Florida band's version, click here.) and was clinic-ed (not sure that is a word) by a long time drum corps veteran.

Still, maybe it is parental bias, but I am certain the show was well performed - and the duet by MP was near flawless and brillantly played!

Looking at the scores, Chesapeake HS, another (smaller) area band I did not get to see at finals but saw several times throughout the season, didn't get nearly the recognition they deserved, finishing 20th with what really was most likely a top 10 show. This band is small but consistently delivering a good product (and program).

Strangely, I didn't see anything that grabbed me this time, although the better bands demonstrated superior technical marching achievement that goes with repetition and muscle training. Music was good and excellent, but not always spectacular. Among the top 10, the multi-meter piece "The Canyon" by Philip Glass (as brought to the field in 1999 by Santa Clara Vanguard) was attempted three times. My bias is showing - this show is in my "Quintessential 8" of all time, and so it is hard for bands to reach the acheivement level demonstrated by SCV. (Surfing I found his composition "The Witches of Venice" ... will a band try that?)

The season isn't over yet. They have one more event, but it is under the sunlight on Saturday at the USSBA national championships. We'll see how it all ends then.